愛(ài)的循環(huán)

? 6.7 播放：42萬(wàn) 2026-05-04

風(fēng)流倜儻的美國(guó)人杰克（John暫無(wú)內(nèi)容Sibbit暫無(wú)內(nèi)容約翰?斯比特暫無(wú)內(nèi)容飾）邂逅美麗迷人的巴黎女郎蘇西（Marie-France暫無(wú)內(nèi)容麥瑞?弗朗斯暫無(wú)內(nèi)容飾），兩人共渡激情一夜。清晨醒來(lái)，蘇西不辭而別，并卷走捷克的錢(qián)財(cái)，只留下寫(xiě)有留言的香煙盒。

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劇情提要

風(fēng)流倜儻的美國(guó)人杰克（John暫無(wú)內(nèi)容Sibbit暫無(wú)內(nèi)容約翰?斯比特暫無(wú)內(nèi)容飾）邂逅美麗迷人的巴黎女郎蘇西（Marie-France暫無(wú)內(nèi)容麥瑞?弗朗斯暫無(wú)內(nèi)容飾），兩人共渡激情一夜。清晨醒來(lái)，蘇西不辭而別，并卷走捷克的錢(qián)財(cái)，只留下寫(xiě)有留言的香煙盒。

暗夜精選

別走

斯蒂芬·多爾夫,梅利莎·喬治,西蒙·德蘭尼,加文·歐康諾,萊勒·羅迪,肖恩·馬洪,Aoibhinn McGinnity,Grace Farrel,Des Cave,Luke Griffin,夏洛特·布拉德利,Laurence O'Fuarain,Sahar Ali,Ella Connolly,Grainne Coyne

奧本海默

基里安·墨菲,艾米莉·布朗特,馬特·達(dá)蒙,小羅伯特·唐尼,弗洛倫絲·皮尤,阿爾登·埃倫瑞奇,大衛(wèi)·克朗姆霍茨,喬什·哈奈特,杰森·克拉克,卡西·阿弗萊克,戴恩·德哈恩,本·薩弗迪,大衛(wèi)·達(dá)斯馬齊連,拉米·馬雷克,湯姆·康蒂,肯尼思·布拉納,加里·奧德曼,詹姆斯·達(dá)西,梅肯·布萊爾,杰克·奎德,迪倫·阿諾德,艾瑪·杜蒙特,杰佛遜·豪爾,喬什·祖克曼,馬修·莫迪恩,馬提亞斯·施維赫夫,亞歷克斯·沃爾夫,托尼·戈德溫,庫(kù)爾特·克勒,約翰·高恩,蒂姆·迪凱,泰德·金,古斯塔·斯卡斯加德,邁克爾·安格拉諾,丹尼·德

復(fù)仇新娘

凱蒂·勒克萊齊,杰夫·辛,漢娜·巴爾福特,本·加文,Kendra Carelli,尼克·巴拉德,Charles Christopher,Denny Dormody,肯特·法爾考,Heather Horton,Jana Lewis

校園往事

宋欣諾,吳長(zhǎng)浩,陽(yáng)院生,王海卓,陳升衛(wèi)

紅衣詭村之幻·謎

姚堯,車(chē)品孝,石稚昀,謝易真,李國(guó)麟,駱應(yīng)鈞

劇中計(jì)

詹姆斯·巴林頓,埃里克·格恩斯,Tom Hutch

醉刀客

李炳淵,孫藝燃,趙靖舒玉,藍(lán)曼予,來(lái)喜,龍武,閆青龍,喻慶輝,李長(zhǎng)虹,劉杰,王藝圍,郭宜林,姚紅剛,彭秋生,馮玉璽,楊爭(zhēng),黃本冰,席瑞東,彭羿言,李瀚辰

幕后花絮

瘋狂侏羅紀(jì)

　　在6500萬(wàn)年前的侏羅紀(jì)世界，三個(gè)長(zhǎng)相怪異的“恐龍寶寶”破殼而出，把霸王龍媽媽的生活攪得一團(tuán)糟。為救恐龍寶寶，恐龍媽媽落入陷阱被敵人圍攻。正在危機(jī)時(shí)刻，6500萬(wàn)年后的“援軍”帶領(lǐng)一只恐龍寶寶從天而降，與搶奪恐龍蛋的帝王鱷上演了一出霸道媽媽與恐 龍寶寶的爆笑合家歡大戲.......

等待方舟

　　Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart.　　Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory?　　n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in.　　What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts.　　On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired.　　One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places.　　Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.